Beyond music I have a strong interest in visual arts, especially painting which I also dedicate myself to whenever I have an opportunity. Below you can see examples of my works…
110 x 100 cm, oil on canvas, 2018
only a small difference in the position, like a couple of seconds delay in exposition common problem with portraits: our impressions are different every time when we are looking at the very same person, even if we know the model quite well
experiment + study
realistic, or academic style basically
there is some motion added with painting gestures: it had been smudged, it cannot be perfect anymore
a fight with ourselves: looking at the mirror can be hard, even painful
original, exact task: “create a painting about a topic that we tried to avoid”
personal background: I made a painting (realistic double portrait) 12years ago, and I damaged it with red paint during a performance; after a while I stopped thinking about creating fine art for 12 years
question for me: how to look back, personally, and in the aspect of the artistic career, how this flow can be reached after a decade and how it can be continued (if it is reasonable at all to continue)
that kind of performance is much more interesting for me now: lack of audience, personal performance, within the walls of a studio, without witness
LÓCI IN MOTION
100 x 120 cm, oil on canvas, 2019
It is the double portrait of my son, Lóci.
When I asked the “model” about the painting, his clever answer fascinated me: „there’s no two Lócis, there’s only one”. And he laughed, interpreted the painting as a joke (he was three and a half only).
Thinking about the process in a technical aspect: it is almost impossible to paint a portrait of a small child with that slow technique and create a detailed painting like this. Because of that, I decided to use a photograph to help myself. Thanks to the special effect of photography, especially, the time the camera needs for exposition, there are a couple of blurred spots (mainly his hands in motion)
–so, accidentally, an organic connection evolved with my double self-portrait and its “smudged” gestures.
PAINTING IN VIOLET
100 x 100 cm, oil on canvas, 2019
“to create a painting using a colour we never used before (or it was unfamiliar to use)”
I never really used violet (I never bought this colour of oil paint…) However since that painting session, it has become one of the most important colours of my palette
I used the same place (the office) to place my model, the printed photo of the “border opening” action in 1989, between
Hungary and Austria, what was a symbolic gesture: to open again for the West.
It meant the symbolic end of the communist era in the country. But history made a beautiful joke: from the Hungarian side, the person who held the tool to dismantle the fence, was one of the main functionary of communist system
in Hungary, and later he became a legally elected prime minister.
violet had different kind of symbolic meanings during history: it was important for the church and Christian religion– as the colour of the bishop
also the colour of wealth and luxury; yet had opposite meanings too, such as the colour of vanity, transiency, humility
or even ambivalence, ambiguity and the colour of advent
150 x 120 cm, oil on canvas, 2019
Based on a project of an atomy department at the university:
half of the skeleton of a young girl was found during a construction work somewhere in Hungary. She was killed during the Tartarian invasion in Hungary, around the 13th century. Our task was trying to draw the reconstruction of the posture of the dead body
–with the help of our skills that were developed during the first semester at university (studying the human skeleton and learning all the shapes and names of the bones) I studied the case through several drawings, then I created this painting.
My version has also a little erotic overtone due to the point of view. During the art history course, I discovered,
that Marcel Duchamp has a drawing based on the similar posture
(and most of his nude drawings were erotic, too).
PORTRAIT OF WALTER HUTCHINSON
80 x 70 cm, oil on canvas, 2019
REHEARSAL II / HOMMAGE À TADEUSZ KANTOR & EDWARD KRASIŃSKI
150 x 120 cm, oil on canvas, 2019
DWAJ LUDZIE Z ORGANAMI
200 x 150 cm, oil on canvas, 2019